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Tonguing Exercises
by Ken Saul2007
These exercises are good for developing your single, triple, double, and mixed tonguing. There are also several tonguing studies inspired by difficult orchestral trumpet passages. When practicing tonguing exercises listen carefully and strive for clear, consistent attacks. On the exercises for fast, repeated tonguing (like #8-10), keep the tongue hitting at the top of the upper teeth, where the teeth meet the gum. Aim for it like where the ceiling meets the wall in the room where you are practicing. Think Light, Clear, and Consistent.
Available online at www.ultrapureoils.com, along with other sets of educational materials especially written for trumpet players. It is also available at www.sibeliusmusic.com.
Any questions - write to ken@ultrapureoils.com.
Ken Saul1
Tonguing Exercises
Practice slow through brisk tempos, keeping a steady beat and a clear attack throughout
2
Practice these single tonguing exercises with syllables Tee - Tee - Tee, Ta - Ta - Ta, Tu - Tu - Tu, Da - Da - Da, Du - Du - Du, Thu - Thu - Thu, Lu - Lu - Lu, and Hu - Hu - Hu (breath attacks). Also, practice them at different dynamic levels from very soft attacks to brilliant, crisp attacks and at speeds ranging from slow to quite fast.
Copyright © by Ken Saul 2007
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3
4
5
6
slow; practice both loud/accented and soft/legato
Copyright © by Ken Saul 2007
3
7
8
Copyright © by Ken Saul 2007
4
9
10
Copyright © by Ken Saul 2007
5
11
12
Copyright © by Ken Saul 2007
6
13
14
Copyright © by Ken Saul 2007
7
Triple Tonguing15
ku
ku
ku
ku
ku
ku
ku
ku
(same)
16
ku
ku
ku
ku
ku
ku
(same)
17
ku ku ku ku ku
ku ku ku ku
ku ku ku ku
ku ku
(same)
18
kutu
slow and deliberate
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
3 3 3 3 3 3 3 3
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
kutu
kutu
kuKu
3 3 3 3 3 3 3 3
Copyright © by Ken Saul 2007
8
19
All Ku, then Tu Tu Ku
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
The goal of all this hard work is to make your Ku as strong as your Tu, and to develop coordinationof triple and double tonguing patterns. Play only as fast as you can play without losing the clear Ku or without tripping up on the articulation patterns. Clarity first, speed later.
3 3 3 3 3 3 3 3
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3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
Practice whispering "tu tu ku tu tu ku tu tu ku tu tu ku....." during your day to train the tongue to movein the triple pattern more quickly and more naturally. People might think you are strange, but brassplayers are strange!
3 3 3 3 3 3 3 3
Copyright © by Ken Saul 2007
9
21
Very strict and even; use a metronome. Keep Ku's solid.
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3
3 3 3 3 3 3 3 3 3
3 3 3
3 3 3
3 3
3 3 3 3 3 3 3
3 3 3 3 3
3 3
3 3 3 3 3 3 3 3 3 3
3 3 3
3 3 3
3 3
3 3 3 3 3 3 3
3 3 3 3 3
3 3
3 3 3 3 3 3 3 3 3 3
3 3 3
3 3 3
3 3
Copyright © by Ken Saul 2007
10
3 3 3 3 3 3 3 3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3
3 3 3 3
3
3 3 3
3 3 3 3 3 3 3 3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3
3 3 3 3
3
3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3
3
3 3 3
Copyright © by Ken Saul 2007
11
22
A few notes about tonguing syllables. Although we have used syllables like Tu and Ku throughout,you will find that the tongue naturally drops in the low register to more of a Ta and Ka. In the higher register, the tongue will raise, making the syllable more of Tee Kee. In all cases, make sure the tipof the tongue is not hitting between the lips unless you are doing so for some special effect(a "splatty" sound). For less percussive attacks, use Du Gu or even Lu Gu for almost no separation. These softersyllables are great in quiet jazz ballads.
After your tongue is strong, you can start to back off, practicing in these more legato styles and softer dynamic levels.
3 3
3
3
3
3 3 3
3
3
3
3
3 3
33
33 3
3
3 3 3
3
3
33 3 3 3 3 3
3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3
3
3
3
3 3 3
3
3
3
3
Copyright © by Ken Saul 2007
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23
3 3 3
3 3
3 3 3 3 3 3 3
3 3
3 3 3 3
3 3 33
3 3
3 3 33
3
3 3 3
24
3 3
3 3 3 3
3 3
3 3
33 3 3
3 3
3 3 3
3 33
3 3
3 3 3
3 3
3 3 3
Copyright © by Ken Saul 2007
13
Double Tonguing25
tu Ku tu Ku tu
Ku tu Ku tu
Ku tu Ku tu
Ku tu Ku
tu Ku tu Ku tu
Ku tu Ku tu
Ku tu Ku tu
Ku tu Ku
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Practice whispering tu-ku tu-ku tu-ku ... over and over to train the tongue to move in the double-tonguing pattern.
All Ku, then Tu Ku
27
tu
tuKu tu
tuKu tu
tuKu tu
tuKu
(same)
tu
Ku tu
tuKu tu
tuKu tu
tuKu tu
(same)
Copyright © by Ken Saul 2007
14
28
Very strict and even; use a metronome. Keep Ku's solid. Remember: Clarity, then speed.
Copyright © by Ken Saul 2007
15
Copyright © by Ken Saul 2007
16
29
30
Copyright © by Ken Saul 2007
17
Copyright © by Ken Saul 2007
18
31
Copyright © by Ken Saul 2007
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32
ka ta
katakata
ka ta
katakata
ka
(same)
33
ta takata
takata
takata
ta
taka ta
takata
ta
takata
3 3 3
3
3 3
3 3 3
3 3 3
3 3
3 3
Copyright © by Ken Saul 2007
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34
ta ka ta ta
ka ta ta
ka ta ta
ka ta
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35
ta
Presto (q=140-180) Inspired from La Mer by Claude Debussy
ta ta
ta ka ta
ta ta
ta ka
3 3 3 3
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(q=110-120) Inspired from Symphony 1 by Gustav Mahler
3 3 3
3 3
3 3
3 3
3 3
3 3
Copyright © by Ken Saul 2007
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3 3
3 3
3 3
3 3
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(q=120-152) Inspired from Young Persons Guide to the Orchestra by Benjamin Britten
3x
3x
3x
dim.
p
f
ff
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38
(q=110-126) Inspired from Capriccio Italien by P. Tchiakovsky
k t k t
k t k
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(q=100-120) Inspired from L'Histoire du Soldat by Igor Stravinsky
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40
(e=186-200) Inspired from Capriccio Espagnol by N. Rimsky-Korsakov
cresc.
3 3 3 3 3 3 3 3 3 3
cresc.
3 3 3 3 3 3 3 3
3 3
cresc.
cresc.
3 3 3 3 3 3
3 3 3 3
3 3
cresc.
3 3
3 3 3 3 3 3
3 3
3 3
3 3 3 3 3 3 3
3
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dim.
cresc.
3 3
3 3
3 3 3 3 3 3
Copyright © by Ken Saul 2007
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